Thank you for articulating romantic vs classical in connection with Martin's work. Am glad too to learn of the Burke term "artificial infinite". Thanks as well for challenging Martin's description at the time of writing of her own work as fully classical. That description is as pure as Jo Baer eventually refuting minimalism for a return to figuration. There were threads with that too between her before and after. Thomas McEvilley, in a late 80s piece, pointed to a floating bouyancy as present in both. I absolutely experience tactile strands of earth and water in the image of Martin's "Falling Blue".
Yes, you're right, the abstract and the figurative are intertwined, if not in any obvious way--more at the very basis of pictorial possibility . . . the one is ultimately inconceivable without the other.
It is remarkable that your insights and style has been so consistent over this whole time.
The ascending issues of “the ritualistic,” “the underlying purity” which she labels “the classic” and, highest of all, “the void, pure mind, freedom” point to differences between Western Abrahamic Absolutes and Eastern Meditative Absolutes. Agnes Martin's work seems to fall into the latter while a comparable former type would be Barnett Newman's work. Mr Newman seems to have moved quickly through the Ritualistic and Underlying Purity to the pure Mind/Freedom of Abrahamic Mysticism or Western Romanticism. There is a pole or current to an absolute outer source in our Western Romanticism that sits within Enlightenment Thought, Ethics, and Values as well as the artistic inspiration of Romantic Artists, Romantic Modernists, especially the AE New York Painters.
Agnes Martin has adopted at least parts of Eastern Philosophy and Religious Practice to inform her works. This may explain why the works have a quietude and droll obedience to ritual and purity. They obviate the "self" in ways akin to Donald Judd sculpture.
After decades of exposure, this eastern quelling of excitation does distinguish Martin's painting, as it does the sculpture of the Minimalists, Judd and others.
There is a special appreciation required for this approach, perhaps a training in the arts, practices and psyche of the Eastern Culture and Religion.
I will take our Western Romantics, thank you! Pollack, Newman, Still, Delacroix, Church, Frederich, the sublime light works of the Impressionists, any and all out of the Abrahamic, Greek and Roman Mystical Traditions.
Thank you, George. Your comments put it all in perspective and prompt me to say that, having no wish to obviate the self, I also opt for Western Romanticism. And, despite whatever Agnes Martin might have hoped, I see her paintings in the light of Western tradition.
yes, I hadn't thought of it that way, "see her paintings in the light of Western Tradition", but, of course, we do see from inside our practice, our traditions and customs of seeing and feeling. As the decades have passed, I have come to feel the Minimal Works of so many are just dull. Why are the Newman paintings thrilling ? the Pollack's annoying-thrilling to look into ?? Why are the Delaunay ORPHISM paintings alive and fascinating, like the Duccio multiple points of perspective, and the Noland Chevrons bland and static to see. ??? Multiple meanings upon multiple POVs. ??
You are welcome. I especially needed to read these words by Agnus....."a sense of disappointment and defeat is the essential state of mind for creative work."
Now back to the studio!! Keep writing about what keeps us going!! If you're ever in DC or the mid-coast of Maine, please look me up, the coffee and a desk will be available for you.
Thank you for articulating romantic vs classical in connection with Martin's work. Am glad too to learn of the Burke term "artificial infinite". Thanks as well for challenging Martin's description at the time of writing of her own work as fully classical. That description is as pure as Jo Baer eventually refuting minimalism for a return to figuration. There were threads with that too between her before and after. Thomas McEvilley, in a late 80s piece, pointed to a floating bouyancy as present in both. I absolutely experience tactile strands of earth and water in the image of Martin's "Falling Blue".
Yes, you're right, the abstract and the figurative are intertwined, if not in any obvious way--more at the very basis of pictorial possibility . . . the one is ultimately inconceivable without the other.
It is remarkable that your insights and style has been so consistent over this whole time.
The ascending issues of “the ritualistic,” “the underlying purity” which she labels “the classic” and, highest of all, “the void, pure mind, freedom” point to differences between Western Abrahamic Absolutes and Eastern Meditative Absolutes. Agnes Martin's work seems to fall into the latter while a comparable former type would be Barnett Newman's work. Mr Newman seems to have moved quickly through the Ritualistic and Underlying Purity to the pure Mind/Freedom of Abrahamic Mysticism or Western Romanticism. There is a pole or current to an absolute outer source in our Western Romanticism that sits within Enlightenment Thought, Ethics, and Values as well as the artistic inspiration of Romantic Artists, Romantic Modernists, especially the AE New York Painters.
Agnes Martin has adopted at least parts of Eastern Philosophy and Religious Practice to inform her works. This may explain why the works have a quietude and droll obedience to ritual and purity. They obviate the "self" in ways akin to Donald Judd sculpture.
After decades of exposure, this eastern quelling of excitation does distinguish Martin's painting, as it does the sculpture of the Minimalists, Judd and others.
There is a special appreciation required for this approach, perhaps a training in the arts, practices and psyche of the Eastern Culture and Religion.
I will take our Western Romantics, thank you! Pollack, Newman, Still, Delacroix, Church, Frederich, the sublime light works of the Impressionists, any and all out of the Abrahamic, Greek and Roman Mystical Traditions.
Thanks for reissuing such a poignant essay.
Thank you, George. Your comments put it all in perspective and prompt me to say that, having no wish to obviate the self, I also opt for Western Romanticism. And, despite whatever Agnes Martin might have hoped, I see her paintings in the light of Western tradition.
yes, I hadn't thought of it that way, "see her paintings in the light of Western Tradition", but, of course, we do see from inside our practice, our traditions and customs of seeing and feeling. As the decades have passed, I have come to feel the Minimal Works of so many are just dull. Why are the Newman paintings thrilling ? the Pollack's annoying-thrilling to look into ?? Why are the Delaunay ORPHISM paintings alive and fascinating, like the Duccio multiple points of perspective, and the Noland Chevrons bland and static to see. ??? Multiple meanings upon multiple POVs. ??
What a great piece clear and a delight to read and learn from
Thank you, Michael!
As a painter, your descriptions lit my inner mind up, thank you!!!
Thank you, Carol!
You are welcome. I especially needed to read these words by Agnus....."a sense of disappointment and defeat is the essential state of mind for creative work."
Now back to the studio!! Keep writing about what keeps us going!! If you're ever in DC or the mid-coast of Maine, please look me up, the coffee and a desk will be available for you.